"It was a lust for political power." - Bob Woodward
"There is no simple answer." - John Dean
President Richard Nixon, caught in a big lie, resigned in disgrace forty years ago. As we commemorate our shared memories of this astounding political scandal today, we are unwittingly basking in a new layer of delusion and willful untruth.
Yes, we conceal the truth today about Watergate, especially when we talk about the original motive for the crime, and when we try to analyze the lessons learned. I've enjoyed watching a couple of new television shows that interview the principals in the affair, but I can't help cringing at the level of voluntary obfuscation, of creative contextualizing. The gauze of popular self-delusion about Watergate does not serve a sinister political purpose but rather serves our need for comfortable conclusions, for meaningful metaphor (which may be meaningful even when it does not reveal a truth), for the dubious entertainment of banal psychobiography. It's easier to demonize Nixon than it is to realize that the disease that brought this President down is widely shared by others.
In 2002, filmmaker Richard Linklater selected a six-year-old actor named Ellar Coltrane to be the star of his new movie Boyhood, which was expected to take twelve years to film.
Linklater also cast seasoned actors Patricia Arquette and Ethan Hawke to play the boy’s divorcing parents, and signed his own eight-year-old daughter Lorelei Linklater on as the older sister. Big sister Lorelei steals the show in the movie's first couple of scenes, first with a Britney Spears dance number, and then with a temper tantrum at a family meal. This is where Boyhood’s journey begins. When the movie is over, twelve years or two hours and forty-five minutes later, all of the characters has been transformed, and the audience has been transformed too.
I’m a Richard Linklater fan — sure, I love Slacker and Dazed and Confused, though I never got to see the Trilogy. I'm probably in the minority among Linklater fans because I like School of Rock better than Dazed and Confused. But I have a new favorite Richard Linklater film today. Boyhood is his masterpiece, the most fully realized work of his career.
"Wizard of Oz is on again", I noticed recently while flipping through my favorite classic movie channels. Then I spotted the year on the movie listing: 1925.
Here it was, the early version I'd always been curious to see! This silent-era Wizard came out fourteen years before the great Judy Garland classic, and even though I'd heard the 1925 version was a box-office dud and an artistic failure, I'd long been curious what this interpretation of L. Frank Baum's children's book contained.
I observed a strange reaction among my friends -- especially my fellow liberals -- when a new insurgent group calling itself "The Islamic State in Iraq and Syria" began capturing towns and small cities in war-torn Iraq.
There's really nothing new about this insurgent group, which represents the same Sunni coalition that lost power with the fall of Saddam Hussein and has been trying to get it back ever since. But all of a sudden, several of my friends were up in arms about the insurgency. Why? Because they're fundamentalists.
Indeed, the new insurgency is using Islamic fundamentalism as a way to gain support (and frighten Brits and Americans). It's a smart strategic move: calls to religion have always been useful recruiting tools in time of war. But what amazes me is that some of my American friends are more offended by the fact that the new insurgents are religious than by the fact that they are rampaging through towns murdering political opponents with their families.
The atrocities are perfectly acceptable, apparently ... as long as they don't start bringing sharia into it.
Sure, every other obituary of 86-year-old Brooklyn novelist Daniel Keyes is going to talk about Flowers for Algernon. And, yeah, that was his best book. But I'm going to talk about The Touch, simply because I remember this novel well, and because nobody else is going to mention it.
As a lonely middle school kid, I was so desperate for good books that I would bottom-feed the local library stacks, looking for off-hit books by writers who were (I could already tell at my young age) literary one-hit wonders. This is why during the waning years of the Summer of Love and the waxing years of the Me Decade I read Love, Roger by Charles Webb (author of The Graduate), David Meyer is a Mother by Gail Parent (author of Sheila Levine), This Perfect Day by Ira Levin (Rosemary's Baby). And it's why I read The Touch by Daniel Keyes, author of the powerful Flowers for Algernon. I suppose I was also attracted to The Touch by the mod cover design, which reveals Daniel Keyes trying to reach a hip adult literary audience. That never quite happened, but we'll always have Flowers for Algernon.
Furthur, Further ... that literary device on wheels, that great American rolling metaphor.
Fifty years after novelist Ken Kesey gathered his friends into a painted bus and drove a jagged route from California to New York City, the novelist's son Zane Kesey is hitting the road again, in a new bus with a new gang of Merry Pranksters, funded by a Kickstarter that has already met its goal.
I was nothing but psyched when I heard that postmodern novelist Colson Whitehead was writing a book about poker. Sure sounded like a great idea to me.
Whitehead is a clever, acidic satirist with a gift for inventive situations and touching emotional connections. Can he write? Absolutely -- novels like The Intuitionist and Apex Hides the Hurt have proven this. But can he write about poker? His new book The Noble Hustle: Poker, Beef Jerky, and Death has some big problems (and, no, I'm not going to refer to the book as a "bad beat" or a "dead hand" so please stop expecting the obvious puns).
In one remarkable moment in The Last Illusion, a new novel by Porochista Khakpour, a shy and vulnerable young man who was raised as a bird in a cage meets an impetuous young woman who seems to understand him. He then meets her sister, who is so enormously fat that she lives her life in bed, occasionally dressing up in a tiara and gown and high-heeled shoes under her blanket.
We expect Zal, the young man, to become infatuated with Asiya, the passionate and intelligent young woman, and in fact Zal does like and respect Asiya very much. But it's Willa, the gigantic sister who lives in bed that Zal falls instantly and completely in love with.
Exactly 150 years today, the most grueling and relentless eight days of the Civil War in the United States of America began. These are the opening days of the Overland Campaign, in which two armies rampaged south through north-central Virginia in their final race towards Richmond, capital city of the Confederacy. They stopped frequently along the way to try to kill each other.
The Overland Campaign was recently featured in the TV series House of Cards. The crooked politician played by Kevin Spacey visits a newly dedicated (and fictional) battlefield park dedicated to the Overland Campaign, and meets a reenactor costumed as his own doomed Rebel ancestor. In real life, the park is known as the Fredericksburg and Spotsylvania National Battlefield, and despite the House of Cards fabrication, it's not dedicated just to the Overland Campaign: there were so many fights in this region that Wilderness and Spotsylvania have to share space with Fredericksburg and Chancellorsville, where major battles were fought in 1862 and 1963.
Those were also critical and immense conflagrations, but Civil War experts know the Overland Campaign was the greatest match of them all, because it was in these battles -- Wilderness, Spotsylvania, North Anna, Yellow Tavern, Cold Harbor -- that General Ulysses S. Grant faced General Robert E. Lee directly for the first time. This was the big one, the championship between the two top teams. This was the Finals, and it was a hell of a fight.
A literary biography ought to possess a voice and attitude that reflects and complements the literary voice and attitude of its subject. Leon Edel's life of Henry James is prim and probing, with an energy that gradually accumulates into stately magnificence. Gerald Nicosia's biography of Jack Kerouac is passionate, melancholy and fitful. This is how it should be, but this implicit rule must have been daunting to Adam Begley when he began writing Updike, the first comprehensive biography of the great fiction writer and critic John Updike, who died in 2009.
John Updike was, after all, one of the most confident and erudite prose stylists of his era, and an immensely likable writer. Fortunately, Adam Begley rises to the challenge in this enjoyable and perceptive biography, and while Begley doesn't attempt sentences of Updikian beauty and complexity, he does follow the master's lead in conjuring buoyant revelations from ordinary situations. Like a good Updike novel, this book captures the richness of one person's well-lived life.